DAUAT8YHD    ODM3O 


University  of  California  •  Berkeley 


ANDREWS  (WILLIAM  LORING — Annotator).  The  Heavenly  Jerusalem.  A 
Mediaeval  Song  of  the  Joys  of  the  Church  Triumphant.  With  annotations 
by  William  Loring  Andrews.  Illustrations.  8vo,  wrappers,  gilt  top,  uncut. 

New  York,  1908 
One  ofiao  copies  printed  upon  "Arches"  hand-made  paper. 


tl)io  book  one  iwn&rca  ana  tiurntv  copies 
Ijafce  been  printed  upon  "Qttty* 
maue  paper;  ttoent£;0e&en  copies 
upon  3'mperial  Japan  paper 
anD  fiuc  copied  on  special 

3|apan 
paper 


rigljt  10  re0erbeD  to  print  ten  ejtra 

copies  of  cacl)  of  cl)f  tiuo  engratitngs;  bv 
£l^r.  s^iDucv  11.  s>uutl)  none  of 
toill  be  off ereD  for  sale 


illeluia,  laeta  mater  concine*  li 


fcor  tuorum  ctbtum  gauDentium; 
nofif  fiere  cogunt 


llatin 


f  Hones  full  precious  are  ty  towres 
thy  gates  of  pearles  are  told, 
There  is  that  Alleluia  fung 
in  flreates  of  beaten  gold 


Thofe  (lately  buildings  manifold 
on  fquaredftones  do  rife 

rames 
enclofed  Caftlewife 


HEAVENLY  JERYSALEM 


AMEDI/EVALSONG 

OFTHEJOYS  OFTHE 

CHVRCH  TRIVMPHANT 


With  (Annotations by 


NEV/  YORK 

CHARLES  S  CRIB  NEKS  SONS 

A\   C    A\  V  I   I   I 


COPYRIGHT,   IQOS 
BY  WILLIAM  LORING  ANDREWS 


3fnscri6eD  to  t&e  memorp  of  tfie 
Dear  ones  "tofcom  toe  imtoe 

long  0mce,  anD 
low  atofciie," 


I3T  t0  a  magnificent  tiring  to  pass 
along  tljr  far*0tretclring  toista  of 
lAMitns,  from  tl)f  sublime  sclkcontainete 
nrss  of  £>*  Ambrose  to  tlje  more  ferbio  tn^ 
0piration  of  0*  Oregon? ,  tljr  rrautsitr  t^po^ 
logs  of  iBenantius  3f ortunatfe, 
painting  of  &.  peter  Dam  tan t , 
iifee  fiiimplicit^  of  §>*  Bother,  ttie  scriptural 
calm  of  ^oue0calcus,  t^e  tfubfecttoe  lobe^ 
linesfs  of  §>«  HBernarD,  till  all  culminate  in 
tljr  full  bla?e  of  glor^  U3l)icl)  surrounds 
aaam  of  &*  Victor,  tlie  greatest  of  tjiem 
alL 


N  the  year  1 865 ,  the  late 
Dr.  William  C.  Prime 
published  a  little  octo- 
decimo of  ninety-two 
pages  upon  the  hymn,  "O,  mother 
dear  Jerusalem,"  of  which,  unfortu- 
nately, there  must  have  been  a  very 
limited  number  of  copies  printed,  for 
it  has  long  been,  in  the  writer's  ex- 
perience, a  difficult  book  to  find  out- 
side of  the  Lenox  Branch  of  the  New 
York  Public  Library,  and  only  recent- 
ly has  his  search  for  a  copy  proved 
successful. 

-le  Rev.  Horatius  Bonar,  D.  D., 
also  wrote  a  monograph  upon 
the  subject  which  was  published  in 
Edinburgh,  in  1852.  This  brochure 
one  could  hardly  expect  to  happen  on 
after  reading  Dr.  Prime's  statement, 
made  in  1865,  that  it  was  then  so 

xvii 


scarce  a  book  as  to  be  inaccessible  to 
American  readers.  Consequently  I 
have  lacked,  in  the  preparation  of  the 
following  pages,  the  assistance  which 
would  have  been  afforded  me  by  this 
monograph,  whose  author  Dr.  Prime 
met  by  a  happy  chance  one  morning 
as  he  was  riding  over  the  hills  on  the 
north  of  Jerusalem,  and  of  whose 
book  he  says :  ' '  It  contains  a  valuable 
and  thorough  history  of  our  hymn, 
with  parallel  hymns,  and  much  learned 
and  appreciative  comment  by  Dr. 
Bonar. "  Occasional  writings  such  as 
these  treatises  of  Drs.  Prime  and 
Bonar  published  in  limited  editions 
soon  become  almost  if  not  quite,  in- 
trouvable,  much  to  our  detriment, 
for  they  frequently  contain  the  infor- 
mation of  which  we  are  most  in  need 
and  cannot  find  elsewhere. 


XVlll 


Ith  the  rare  felicity  of  expres- 
sion  that  characterizes  all 
the  productions  of  his  pen,  Dr.  Prime 
thus  introduces  his  subject: 

e  old  hymn  to  which  this 
little  book  is  devoted  and 
which  is  given  here  as  nearly  as  may 
be  in  the  form  which  it  bore  two  hun- 
dred years  ago,  needs  no  words  of 
praise  to  commend  it. 

is  a  grand  poem,  and  one  or 
another  portion  of  it  will  reach 
every  heart  with  its  power  and  beauty. 
It  has  been  a  comfort  and  joy  to  very 
many  people,  both  in  this  form  and  in 
the  numerous  variations,  abbrevia- 
tions and  alterations,  in  which  it  has 
from  time  to  time  appeared  among 
the  sacred  poems  of  the  Christian 
world.  ******  *<;,*•/* 

*    *    *    The  hymn  has  grown  to  be 

xix 


very  sacred;  it  was  sung  by  the  mar- 
tyrs of  Scotland  in  the  words  we  have 
here.  It  has  rung  in  triumphant  tones 
through  the  arches  of  mighty  cathe- 
drals; it  has  been  chaunted  by  the  lips 
of  kings  and  queens  and  nobles ;  it 
has  ascended  in  the  still  air  above  the 
cottage  roofs  of  the  poor;  it  has  given 
utterance  to  the  hopes  and  expecta- 
tions of  the  Christian  of  every  con- 
tinent, by  every  seashore,  in  hall  and 
hovel,  until  it  has  become  in  one  or 
another  of  its  forms  the  possession  of 
the  whole  Christian  world." 

Admit  it  to  be  an  act  of 
resumption,  for  one, 
rith  my  limited  know- 
ledge of  the  subject,  to 
attempt  to  follow,  even  afar  off,  in  the 
footsteps  of  an  author  of  the  ripe  schol- 
arship and  high  literary  attainments  of 

XX 


Dr.  Prime,  and  I  do  not  flatter  myself 
that  in  the  following  pages,  I  have 
made  a  contribution  to  the  history  of 
this  noted  hymn,  save  perhaps  by 
bringing  into  wider  and  more  particu- 
lar notice  the  rare  and  curious  little 
volume  in  which  it  made  its  second 
appearance  in  printed  form.  Be  this  as 
it  may,  this  monograph,  at  all  events, 
affords  me  an  opportunity  to  indite 
these  few  lines  in  memoriam  of  one 
with  whom,  through  our  co-trustee- 
ship in  one  of  our  public  institutions 
1  was  for  many  pleasant  years  brought 
into  familiar  and  helpful  intercourse, 
and  who  was  to  me  a  "  guide,  phil- 
osopher and  friend." 

'N  Arber's  Transcript  of  the  Regis- 
ters of  the  Stationers  Company 
of  London,  1554-1640,  1  find,  under 
date  of  July  23,  1601,  the  following 

xxi 


entry  of  the  little  book  alluded  to 
above,  the  possession  of  a  copy  of 
which  emboldened  me  to  write  this 
essay  upon  the  hymn  "The  Heavenly 
Jerusalem." 

wiltiam  ffervrand.  Gntered  for 
his  copy  nnder  the  nan  Jed  of  master 
lASFEILD  and  maoter  Q)  eaton  ward- 
en. <_^C  QOOKe.  called  tne  sonqe  or 

&       i 

MARY  the  mother  of  CHRIST  con- 

teuninae  tne    story e  of    nis    lyfe  and 

** 
passion. 

~y*T  will  be  noticed  that  this  entry 
-**  differs  in  orthography  and  capi- 
talization from  the  title  of  the  printed 
book  which  is  given  on  the  fortieth 
page. 

WILLIAM  LORING  ANDREWS. 


Celestial  Country 


3fitl)  tampers:  gloto  tljv  bulwarks  ; 
streets  ferity  etneralas  bla?e; 


Clje  sarfcius  ana  tlje  topa? 

mnite  in  tyee  tyeit  ra^s 
ti:i)inr  ageless  femlls  are 

Mitl;  amrtl^st  unpriced; 
t!P^  Saints  builu  up  its  fabric 

2inl>  tye  corner-stone  is  Christ* 

JFrom  tye  fc^tym  of  &t*  Bernard  of  Clunp 

SlDason 


IIlu0tration0 

Hotogravure  reproduction  of  the 
title  page  to  George  Wither's 
" Preparation  to  the  Psalter,"  Lon- 
don, 1619.  Drawn  and  engraved  by 
Francis  Delaram,  a  contemporary 
with  Elstracke  and  the  Passes.  .  v 

1 1  Small  tablet  with  verses  by  W .  Prid, 
designed  and  engraved  on  copper 
by  Sidney  L.  Smith.  .....  viii 

III  Title  page,  designed  and  engraved 

on  copper  by  Sidney  L.  Smith.          ix 

IV  Photogravure   reproduction   of  a 
page  in  an  "  Horae  avec  chant  not6" 
a  MS  of  the  XIV  or  commencement 
of  the  XV  Century  on  180  leaves  of 
fine  vellum.    It  (the  page)  con- 
tains the  Kyrie  Eleyson  and  the 
beginning  of  the  Gloria  in  excelsis 
Deo  from  the  Mass 4 

V  The  artist  monk  at  work  in  his 
scriptorium;  a  copy  of  a  wood  en- 
xxv  ii 


IUu0tratton0 

graving  in  "Le  Compendium  His- 
torial. "  Printed  at  Paris  in  1 528,  for 
Galliot  du  Pre.  1 1 


VI  Three  different  tunes  to  the  hymn 
"Jerusalem  my  happy  home,"  from 
the  English  Hymnal.  Printed  at 
the  University  Press,  Oxford.  Lon- 
don, Amen  Corner,  1906  .  .  .  .19 

The  decorative  initial  letters  are  reduced 
from  those  in  a  page  (illuminated  in  colors 
and  gold)  of  a  Flemish  Antiphonal  of  the 
XV  Century.  Size  of  the  vellum  leaf 
14  x  2iK  inches. 


offiliplite  HJti.jv,  iUoam.guft. 


m  $«el&8  aij.  <£t  m 


Chapter 


t,,  Verses  fifteen, 


:eenf  gcfrentem,  eighteen 
nineteen,  ttoentp,  ttoen* 


toftft  me  ImD  a  golDen  reeD  to  mea0 


lute  tbe  dtp,  anD  t&e  gate0  thereof,  anD  tfte 
toall  t&ereof*  <L3nD  t&e  cftp  lietfi 


square,  anD  t&e  iengdj  10  a0  large  a0  tfte 


!  breaDtl) :  anD  6e  mea0ureD  tfie  dtp  toitft  tfie 


reeD, 


tt)ou0anD  (urlon00. 


llengtt)  anD  tfie  BreaDtS  anD  tfte  beigftt  oflt 
are  equaL  C  9nD  t)e  mea0ureD  tbe  toall 


thereof,  a  JjunDreD  anD  fort?  anD  four  cu= 


6it01accorDingtot6emea0ureofaman1tt)at 
lig,  of  t&e  angeL  C  anD  t&e  6uilDing  of  tfte 
[toall  of  it  toa0  of  /a0per :  anD  t&e  dtp  toa0 


pure  golD,  like  unto  clear  gla00*  c. 


founDation0  of  tfte  toall  of  tfte  eitp  toere 


toitf)  all  manner  of  preciou0 

5 


Stones  CCfte  first  founDation  ID  110  fas= 


pet;  tfte  wconD,sappfcfre;  tfte  tftirD,  a  cftal= 


ceDonp;tftefourtft,anemeraUK<L€ftefiftft, 


sarDonpt;  tfte  sirtft,  saroius;  tfte  sctientft, 


cftrgsolgte;  tfte  eigfttb,  beryl;  tftc  nintf), 


a  topa?;  rte  tcntt),  a  cl)rp0opra0u0;  t&e 


elebentl),  a  iacint6;  tfie  ttoelftft,  an 


tftpst.  C3nD  tfiettoeUM  gates  toerettoeltie 


pearls;  eDcrp  several  gate  teas  of  one 


pearl:  ano  tfte  street  of  tfte  citp  toas  pure 


go  ID,  as  ft  toere  transparent  glass* 


sato  no  temple  therein:  for  tfte  ILorD 


aim! 06tp  anD  t&e  Lamb  are  tfte  tem- 


ple of  it  41. 3nD  tfte  eitp  ftaD  no  neeD  of  tfte 


sun,  neitfter  of  tfte  moon,  to  sftine  in  it: 


for  tfte  ffiorp  of  ©on  Din  ligftten  it,  anD 


tfte  Hamb  is  tfte  ligftt  tftereot  41  anD  tfte 


nations  of  tftem  tofticft  are  satieD  sftall 


to  a  Ik  in  tfte  ligftt  of  it:  anD  tfte  kings  of 


tfte  eartft  Do  bring  tfteir  glorp  anD  turnout 


into  it. 


ttn 

Mong  the  many 
thousands  of 'noble 
numbers  or  pious 
pieces/ 'the  Psalms, 
Hymns  and  Spiritual  Songs  of  the 
Christian  Church,  [i]  there  is  none 
in  their  native  tongue  dearer  to  the 
hearts  of  all  English-speaking  people, 
than  the  ancient  one 

"Jerusalem,  mp  fmppp  Some" 
said  by  students  of  hymnology  to 
have  been  taken  from  that  book  of 
doubtful  authenticity  known  as  'The 
Meditations  of  St.  Augustine." 

His  beautiful  'hymn  of  the  ages 
has  drifted  down  to  us  out  of 
the  mists  of  an  antiquity  that  hides 
the  name  of  its  author,  and  conceals 
the  date  and  place  of  its  origin.  In  the 
various  collections  of  hymns  in  which 
it  has  been  printed  in  part  or  in  whole 

7 


it  has  been  attributed  to,  or  claimed 
by  numerous  hymn-writers,  but  in  the 
Revd  Dr  John  Julian's  monumental 
work,  "A  Dictionary  of  Hymnology," 
it  is  emphatically  stated  that  "the 
writer,  probably  a  Roman  Catholic, 
and  possibly  a  priest,  remains  un- 
known," and  this  we  are  disposed 
to  accept  as  the  final  and  authorita- 
tive word,  upon  a  question  which  has 
divided  the  antiquarians  ;  for  it  comes 
from  the  pages  of  a  book,  whose  large 
corps  of  contributors  (thirty-seven  in 
number)  prides  itself,  upon  the  eru- 
dition the  voluminous  work  displays, 
and  the  "minute  technical  accuracy" 
with  which  it  has  been  compiled. 
Still  it  is  not  infallible,  as  we  shall  have 
occasion  to  notice  further  on.  A  book, 
however,  without  an  error  in  it,  made, 
by  either  the  author  or  the  printer, 

8 


would  become,  forthwith,  one  of  the 
curiosities  of  literature. 

Illiam  T.  Brooke,  the  hymn- 
writer  and  translator,  who 
contributes  the  lengthy  treatise  upon 
the  hymn  to  the  Dictionary  of  Hymn- 
ology,  quotes  a  passage  from  the  Liber 
Meditationum,  [2]  of  St.  Augustine, 
beginning  fi@ater  ^Jerusalem,  Cftntas 
sancta  Dei,  which,  with  a  hymn  of  the 
eleventh  century,  on  the  Glory  of  Par- 
adise, ascribed  to  Cardinal  Peter  Da- 
miani,  [3]  he  believes  to  be  the  source 
not  only  of  the  hymn  of  twenty-six 
verses,  descriptive  of  the  Heavenly 
Jerusalem  signed  F.  B.  P.,  which  we 
are  about  to  notice,  but  also  of  the 
longer  one  of  (forty-four  verses)  "The 
New  Jerusalem"  by  W.  Prid  contained 
in  "The  Glasse  of  vaine-glorie.  Faith- 
fully translated  (out  of  St.  Augustine, 

9 


his  booke,  intituled  Speculum  pecca- 
toris)  into  English  by  W.  P.  (rid), 
Doctor  of  the  Laws,  Printed  at  Lon- 
don by  John  Windet,  dwelling  at  the 
signe  of  the  white  beare,  nigh  Bay- 
nard's  Castle  1585"  (second  edition, 

1593). 

"N  a  MS.  volume  in  the  British  Mu- 
seum, numbered  Add.  15,225, 
marked  on  the  back  "Queen  Eliza- 
beth/' undated,  but  ascribed  to  the 
latter  part  of  the  sixteenth  or  the  be- 
ginning of  the  seventeenth  century,  is 
a  hymn  beginning  "Hierusalem  my 
happie  home,  A  Song  Mad  by  F:  B: 
P. ;"  to  the  tune  of  "Diana."  It  con- 
tains twenty-six  verses,  in  which  the 
poet  "wrapt  in  the  very  Paradise  of 
some  creative  vision"  and  "with  his 
garland  and  singing  robes  about  him" 

IO 


depicts  in  glowing  words,  the  super- 
nal splendor  and  the  glory  of  the  New 


Jerusalem  It  is  a  harmonious  part 
and  parcel  of  that  mediaeval  age  when 
the  cowled  and  tonsured  monk,  toiling 


unceasingly  day  by  day,  in  his  "dim 
scriptorium"  emblazoned  the  pages 
of  his  missal,  with  burnished  gold  that 
never  to  this  day  has  lost  its  lustre, 
and  filled  the  wide  white  borders  with 
a  wealth  of  ornament,  birds,  beasts, 
insects  and  nondescripts ;  flowers, 
scrolls  and  fanciful  devices,  wrought 
in  all  the  colors  of  the  rainbow ; 
while  here  and  there  he  would 

"—in  secret  coign  ettttoist, 
3fegt  of  cloister  fwmorist." 

*A  y  Andal  and  fanatic  hands  have 
*^  robbed  many  an  Ancient  Mis- 
sal, Book  of  Hours,  and  Antiphonal  of 
its  brilliant  illuminations,  burning  the 
vellum  leaves  in  order  to  extract  the 
precious  metal  they  contained ;  simi- 
larly has  this  vivid  word-painting  of 
the  glories  of  the  New  Jerusalem  been 
despoiled; — its  lines  paraphrased  ad 

12 


3&ru0altm 

libitum,  and  abbreviated  without 
mercy,  by  hymnologists,  who  have 
availed  themselves  of  the  labors  of 
the  nameless  author,  and  then  rung 
the  changes  on  the  fair  cadences  of 
his  quaint  verses,  to  suit  their  varied 
tastes  and  accord  with  their  own  ideas 
of  poesy;  but,  as  old  Giles  Fletcher 
saith,  'There  are  but  few  of  many 
that  can  rightly  judge  of  poetry,"  and 
Sir  Philip  Sidney  instructs  us  that  "  it 
is  not  rhyming  and  versing  that  mak- 
eth  a  poet/' 


A  lArious  attempts,"  says  Mr. 
^~  Brooke,  "have  been  made 
to  explain  the  initials  'F.  B.  P.'  the 
principal  of  which  are  : 
CJ  Dr.  Neale's  suggestion  in  his 
'Hymns  Chiefly  Mediaeval  on  the  Joys 
&  Glories  of  Paradise/  1865,  page 

'3 


1 6.  It  [the  British  Museum  MS.} 
contains  several  other  pieces  of  po- 
etry, evidently  by  Roman  Catholics; 
one  headed — 'Here  followeth  the 
song  Mr.  Thewlis  wrote  himself; 
and  another, '  Here  followeth  the  song 
of  the  death  of  Mr.  Thewlis/  Now 
John  Thewlis  was  a  priest,  barbar- 
ously executed  at  Manchester,  March 
1 8,  1617.  It  is  probable,  therefore, 
that  'F.  B.  P.'  was  another  sufferer  (in 
all  likelihood  a  priest)  in  the  persecu- 
tion either  of  Elizabeth  or  of  James  I. 
C,  II  Again  in  the  second  edition  of 
the  same  work,  1866,  page  19,  Dr. 
Neale  says,  'I  have  since  been  in- 
formed by  Mr.  Daniel  Sedgewick, 
whose  knowledge  of  English  Hymn- 
ology  is  as  astounding  as  it  is  unriv- 
alled, that  the  initials  stand  for  Fran- 
cis Baker  Porter,  a  Secular  Priest  for 


some  time  imprisoned  in  the  Tower, 
and  the  author  of  a  few  short  devo- 
tional treatises/1 

is  reading  by  the  father  of 
English  hymnology,  as  Daniel 
Sedgewick  has  been  called,  is  re- 
jected by  Mr.  Brooke,  who  pronoun- 
ces it  a  pure  guess  on  his  part  which 
cannot  be  received. 
/Tk  R.  Brooke,  in  his  history  of  this 
«^*^  noted  hymn,  has  not  over- 
looked, as  many  hymnologists  have 
done,  the  little  quarto  printed  in  1 60 1 , 
entitled  the  '  'Song  of  Mary  the  Mother 
of  Christ,"  which  contains  a  very  early 
version  of  the  song  by  F.  B.  P.  True, 
he  speaks  of  it  disparagingly ;  omits 
to  state  that  it  also  contains  verses 
from  Cardinal  Damiani's  hymn ;  dis- 
misses it  with  a  short  paragraph,  and 
then  proceeds  to  give  the  following 

'5 


(Jerusalem 

as  the  most  important  forms  in  which 
various  versions  of  the  song  of  F.  B.  P. 
subsequently  appeared.  He  is  care- 
ful, however,  to  state  that  it  is  by  no 
means  an  exhaustive  list. 
Cl  A  broadside  of  the  eighteenth 
century  published  in  Scotland,  and 
reprinted  by  the  hymn  writer,  the 
Rev.  Dr.  Bonar,  the  pastor,  at  Kelso, 
of  the  Free  Church  of  Scotland,  in  his 
work,  'The  New  Jerusalem;  a  Hymn 
of  the  Olden  Time,"  Edinburgh,  1852. 
CH  Another  broadside,  contempo- 
rary with  the  above,  published  in 
England,  and  to  be  found  in  the  Raw- 
linson  Collection,  entitled,  'The  true 
description  of  the  everlasting  Joys  of 
Heaven." 

CHI  In  William  Burkitt's  (The  New 
Testament  Expositor)  workpublished 
in  1693,  called  "Help  and  Guide  to 

16 


Christian  Families,"  to  which  is  ad- 
ded "Eight  Divine  Hymns  on  sev- 
eral Occasions,"  the  last  one  being 
a  version  of  "Jerusalem  my  happy 
Home,"  entitled  "An  Hymn;  a  long- 
ing for  Glory;"  in  eight  verses.  This 
text  of  Burkitt  with  slight  alterations 
was  repeated  in  "A  Collection  of 
Hymns  and  Sacred  Poems,"  pub- 
lished in  Dublin  in  1 749. 
C IV  In  "Psalms  &  Hymns,"  by  W. 
S.,  London,  1725,  in  forty  stanzas  of 
four  lines.  This  is  considered  by  the 
writer  of  the  critical  notice  in  Julian's 
"Dictionary  of  Hymnology"  to  be 
superior  to  the  many  other  arrange- 
ments of  the  song. 
C  V  In  Williams  &  Boden's  "Collec- 
tion of  above  Six  Hundred  Hymns, 
designed  as  a  New  Supplement  to  Dr. 
Watts's  Psalms  &  Hymns,"  Don- 

'7 


caster,  1 80 1.  The  hymn  is  signed  Eck- 
ington  C.  and  was  repeated  by  James 
Montgomery  in  a  small  collection  of 
hymns  printed  by  him  for  use  in  the 
Choir  of  the  Eckington  Parish  Church, 
six  miles  from  Sheffield,  England.  [4] 
D  this  list  we  add  the  "English 
Hymnal,  with  tunes, ' '  printed  at 
the  University  Press,  Oxford,  1906, 
and  "The  Hymn  Lover,  An  account 
of  the  rise  and  growth  of  English 
hymnody,  by  W.  Garrett  Horder," 
London,  n.  d.  In  both  these  publi- 
cations the  entire  hymn  by  F.  B.  P.  is 
quite  accurately  copied,  but  in  the 
Hymnal  the  spelling  is  modernized. 
T  "N  the  Hymnal  the  piece  is  headed 
**&*•  F.  B.  P.  circa  1580.  Based  on 
St.  Augustine.  It  is  placed  among 
the  Processional  Hymns  and  set  to 
the  following  tunes. 

18 


638  (PART  i) — THIS  TUNE  MAY  ALSO  BE  USED 

FOR  PARTS  2   AND  3. 

ST.  AUSTIN  ( C.  M. )  English  Traditional  Melody 

.  *       In  moderate  time  Jsm. 


ff — f1  T  r  r  FT — r 

j  AA  A  A   A 


r  T  f  f    r— f 
J  J-J   J    Jr-J 


£ 


t&trr 


T==T 


I L 


BW 


i 


',  ', r  ',  r,  f  r  r  r^-r 
j  ij  J.  j   ij  j  JT-J 


J 


^^ 


.    T-  "T^f 

638  (PART  2) — THIS  TUNE  MAY  ALSO  BE  USED 
FOR  PARTS  I  AND  3. 


SOUTHILL  (CM.) 

,  A       In  moderate  time  J  r  80 


English  Traditional  Melody 


\\4f*i\i\AF-ii"&* 
r  rprr   r  r  r  r  f  *• 


rr 


j i 


L_ 


I       1  1-1 


r  P-Tr  "r  '[orgfrr  r 


638  (PART  3) — THIS  TUNE  MAY  ALSO  BE  USED 
FOR  PARTS  I  AND  2. 

JERUSALEM  (C.  M.)  T.  Worsley  Staniforth 

In  moderate  time  a  :  80. 


/  0  \ 

=?*= 

•1    f 

r  fr 
J.  JJ 

r'  r  r 

j  , 

rfA 

1      -1     j         c 

'  f  ?  If 

J  1 

F4=£=i 

1    J  hJ       «• 

rj  r  r  1  »'  1 

I  g  j  j   II  .L  I  j  g  J  .L.    J  I  00.  i 


., 

r    r    f. 
1  J.  J 


.. 

r  r     f   r  f    f  r 
j  i   j 


HS 


i  r 


Qwtontf?  Jerusalem 

rffe  catholic  taste  and 
>iritexhibited,bythe 
len  who  compiled 
English  Hymnal, 
in  admitting  the  whole  of  the  song  of 
F.  B.  P.  to  its  pages,  was  not  shared, 
nor  was  the  same  love  for  "old  poetry 
but  choicely  good"  displayed,  by  the 
compilers  of  the  Hymnal  of  the  Pro- 
testant Episcopal  Church  in  the  United 
States,  in  present  use.  Montgomery's 
short  hymn  with  the  title,  '  'Jerusalem 
my  happy  home,"  supplemented  by 
Dickson's  "O!  Mother  Dear  Jerusa- 
lem," appears  to  have  been  consid- 
ered all-sufficient.  A  comparison  of 
this  so-called  version  of  Montgomery, 
with  the  hymn  in  its  first  known  Eng- 
lish form,  shows  that  he  rejected  all 
but  two  lines  of  the  first  verse,  and 
in  these  he  substituted  words  of  his 


20 


own  selection,  his  devout  purpose 
being,  we  presume,  to  expunge  from 
the  hymn  whatever,  from  his  Mora- 
vian point  of  view,  savored  of  the  su- 
perstition of  the  Church  of  Rome — a 
process  of  elimination,  which  as  we 
see,  left  very  little  besides  the  name. 
Ready  as  Montgomery  was  to  play 
fast  and  loose,  with  the  poetical  pro- 
ductions of  other  men,  he  objected 
strongly,  we  are  told,  to  any  tam- 
pering with  his  own  compositions,  an 
egotistical  frame  of  mind  common,  it 
has  been  remarked,  to  poets  in  gen- 
eral, both  sacred  and  profane. 
""VOTE  find  more  of  the  sentiment 
•^^  and  more  of  the  words  of 
the  song  by  F.  B.  P.  in  the  hymn 
1  The  Heavenly  Jerusalem, "  under  the 
title  and  with  the  first  line  changed 
to  "Oh !  mother  dear  Jerusalem,"  by 

21 


David  Dickson.  This  contains  seven 
of  F.  B.  P.'s  verses,  in  none  of  which, 
however,  is  the  original  wording 
closely  followed  and  several  of  them 
are  much  corrupted.  Dr.  John  Mason 
Neale,  one  of  the  most  accomplished 
English  hymn-writers  and  translators 
of  the  nineteenth  century,  is  not  at  all 
complimentary  to  this  Scotch  Pres- 
byterian minister  of  the  seventeenth, 
to  whom  he  refers  as  "one  Dickson,  a 
Covenanter,  who  most  impudently 
appropriated  the  song  of  F.  B.  P.  to 
himself  and  mixed  up  with  it  a  quan- 
tity of  his  own  rubbish." 

N  so  far  as  we  have 
been  able  to  ascertain, 
naught  but  a  mere 
skeleton  of  this  ancient 
hymn,  is  now  admitted  to  the  hymnal 

22 


of  the  Roman  Catholic  Church  in  the 
United  States;  barely  enough  to  en- 
able us  to  recognize  it  as  one  of  the 
many  children  clad  in  new  and  strange 
habiliments,  of  the  hymn  from  the 
"Book  of  Meditations, "  of  the  most  il- 
lustrious father  of  the  Latin  Church, 
still  it  shows  another  of  the  different 
trains  of  thought  this  gem  of  religious 
poetry  has  excited  in  the  minds  of 
men,  and  to  which  it  has  given  an  im- 
pulse and  direction. 


E  take  the  three  verses  of 
which  it  consists  from  the 
' '  Roman  Hymnal.   A  complete  Man- 
ual  of  English   Hymns  and   Latin 
Chants,  Compiled  and  arranged  by  a 
choirmaster,  of  St.  Francis  Xavier's 
Church,"  New  York,  1884,  and  still, 
we  believe,  in  general  use. 
23 


Erusalem,  my  happy  home, 
How  do  I  sigh  for  thee? 
When  shall  my  exile  have  an  end  ? 
Thy  joys  when  shall  1  see  ? 

Jerusalem,  Jerusalem, 
Jerusalem,  my  happy  home 
How  do  I  sigh  for  thee! 

ii 
No  sun,  no  moon  in  borrowed  light 

Revolve  thine  hours  away 
The  Lamb  on  Calv'ry's  Mountain  slain 
Is  thy  eternal  day. 

Jerusalem,  Jerusalem,  etc. 

in 
From  every  eye  He  wipes  the  tear 

All  sighs  and  sorrows  cease 
No  more  alternate  hope  and  fear 
But  everlasting  peace. 

Jerusalem,  Jerusalem,  etc. 
24 


turn  from  one  extreme  of 
hymnologist  caprice  to  the 
other,  we  have  only  to  refer  to  a 
volume  entitled  "The  Fire-side  En- 
cyclopedia of  Poetry,"  a  collection 
of  Religious  and  Secular  Poems,  com- 
piled and  edited  by  Henry  Y.  Coates, 
Philadelphia,  1878,  which  contains  a 
hymn  called  "The  New  Jerusalem  or 
the  Soul's  Breathing  after  the  Heaven- 
ly Country."  In  it,  are  many  of  the 
verses  of  the  song,  by  F.  B.  P. ,  inter- 
laced with  those  of  W.  Prid.  Many 
of  them  have  alterations  in  the  text. 
Verses  are  also  added  from  other 
sources,  and  serve  to  lengthen  the 
medley  (or  cento,  whichever  one 
may  see  fit  to  style  it)  to  the  thirty- 
one  verses  of  eight  lines  each,  to 
which  it  is  spun  out.  An  example 
of  the  verbal  alterations,  the  omis- 
25 


to  nip  3eru0alem 

sions,  and  the  arbitrary  transposition 
of  lines  and  verses,  which  in  this 
Fireside  Companion,  break  the  con- 
tinuity of  thought,  and  cripple  the 
stately  measure  of  the  hymn  by  F.  B. 
P.,  is  afforded  by  a  comparison  of  its 
seventh,  eighth,  and  ninth  verses, 
with  the  sixth  verse  in  Mr.  Coates' 
collection,  which  combines  the  three 
four-line  verses  of  the  first  named,  in 
one  verse  of  eight  lines. 
'•  ^  Rom  the  song  by  F.  B.  P.  —  sev- 
^  —  ^  enth,  eighth  and  ninth  verses  : 

C6p  toales  are  maDe  of  precious  stones 

Sultoarfees  DiamonDes  square 
gates  are  of  rigbt  orient  pearle 
anD  rare* 


Cftp  terrettes  anD  tbp  pinacles 
carbuncles  Doe  s&ine 
toctic  streets  are  patoeD  toitt)  gouID 
Surpassinge  cleare  anD  fine, 
26 


Cf)g  f)ouse0  are  of  Jfcone 
Cby  toinOoc0  crtetale  cleare 

Cftp  tple0  are  maD  of  beaten  gouID 
jap  (Son  tftat  31  toere  t&ere* 

HRom   Mr.  Coates'  collection, 
the  sixth  verse : 

Thy  houses  are  of  ivory, 
Thy  windows  crystal  clear, 

Thy  streets  are  laid  with  beaten 

gold- 
There  angels  do  appear 

Thy  walls  are  made  of  precious 

stone, 
Thy  bulwarks  diamond  square, 

Thy  gates  are  made  of  orient  pearl — 
O  God!  if  I  were  there! 

e  last  of  these  modern  ver- 
sions,  to  which  we  shall  draw 
attention,  will  be  found  in  the ' '  Library 
of  Religious  Poetry,"  Edited  by  Dr. 
Philip  Schaffand  Arthur  Oilman,  M.  A. , 
27 


New  York,  1889.  Here  the  hymn  is 
given  verbatim  as  it  appears  in  Julian's 
Dictionary.  One  verse,  however,  is 
transposed,  the  second  being  made 
the  fourteenth,  and  there  are  a  number 
of  inaccuracies  in  the  orthography, 
but  these  are  possibly,  if  not  probably, 
proof-reader's  oversights. 

show  how  little  of  the  spirit 
and  even  less  of  the  form  of  the 
old  hymn,  is  preserved  in  Montgom- 
ery's lines,  we  now  proceed  to  give 
his  so-called  version,  as  it  appears 
in  the  Hymnal  of  the  Protestant  Epis- 
copal Church,  in  the  United  States. 
Revised  and  enlarged,  as  adopted  by 
the  General  Convention  in  the  year 
of  our  Lord  1892.  Nevertheless  the 
Church  militant  owes  much,  to  this 
prolific  Scotch  writer  of  sacred  songs, 

28 


Efttoenlp  3Jru0aIem 

for  the  many  other  comforting,  in- 
spiring and  tuneful  hymns  of  his  com- 
position, or  adaptation,  with  which 
its  Hymnal  is  studded.  Montgomery 
is  said  to  have  written  four  hundred 
hymns,  including  his  versions  of  the 
Psalms.  Taken  altogether,  however, 
they  would  not,  it  is  safe  to  assume, 
cover  much  more  than  half  as  much 
paper  or  parchment  as  St.  Bernard, 
the  Monk  of  Cluny's  one  great  poem 
of  about  three  thousand  lines,  "De 
ContemptuMundi,"  from  which  "Je- 
rusalem the  Golden,"  'The  World  is 
very  evil"  and  other  widely  known 
and  admired  of  our  church  hymns  are 
taken — "Jerusalem,  my  happy  home" 
being  placed  among  the  number  in 
some  Hymnologies.  No  close  and 
complete  translation  of  this  "love- 
liest of  mediaeval  measures,"  as  it  is 
29 


called  by  Dr.  Neale,  has  ever,  he  states, 
been  made.  But,  he  continues,  we 
may  well  be  content  with  what  we 
already  owe  to  it,  as  additions  to  our 
store  of  church  hymns. 

.  William  C.  Prime  justifies 
the  revisers  in  their  free  and 
easy  treatment  of  this  "  Song  of  the 
Heavenly  Jerusalem,"  while  he  criti- 
cises unfavorably  the  results  of  their 
labors.  ' '  Referring  to  the  many  dif- 
ferent versions  that  exist,"  and  to 
the  freedom  with  which  old  hymns 
are  revised  and  changed,  he  writes: 
' '  And  since  the  oldest  version  in  com- 
mon use  was  itself  only  an  alteration 
of  some  of  the  lines  of  the  original 
hymn,  'O!  mother  dear  Jerusalem/ 
it  may  with  much  force  be  pleaded 
that  any  compiler  of  a  hymn  book 
has  equal  right  to  change  that  ver- 

3° 


sion.  It  is,  in  truth,  but  a  matter  of 
taste,  and  all  these  versions  are  but 
weak  substitutes  for  the  triumphant 
chaunt  of  the  original  hymn." 

re  followeth  the  printer-poet 
James  Montgomery's  version, 
made  in  1802. 

i 

Erusalem,  my  happy  home, 
Name  ever  dear  to  me, 
When  shall  my  labors  have  an  end 
In  joy  and  peace  and  thee? 

ii 

When  shall  these  eyes  thy  heaven- 
built  walls, 

And  pearly  gates  behold? 
Thy  bulwarks,  with  salvation  strong, 
And  streets  of  shining  gold? 

in 

There  happier  bowers  than  Eden's 
bloom, 

3' 


Nor  sin  nor  sorrow  know : 
Blest  seats !  through  rude  and  stormy 

scenes 
I  onward  press  to  you. 

IV 

Why  should  I  shrink  from  pain  and 
woe, 

Or  feel  at  death  dismay? 
I've  Canaan's  goodly  land  in  view 

And  realms  of  endless  day. 

v 
Apostles,  martyrs,  prophets,  there 

Around  my  Saviour  stand. 
And  soon  my  friends  in  Christ  below 

Will  join  the  glorious  band. 

VI 

Jerusalem,  my  happy  home, 
My  soul  still  pants  for  thee. 

Then  shall  my  labors  have  an  end, 
Then  1  thy  joys  shall  see. 

32 


N  the  hymn/'The  de- 
scription of  heavenly 
erusalem"  which  ap- 
pears in  the  book  en- 
titled "The  Song  of  Mary,  the  Mother 
of  Christ,"  the  twenty-six  stanzas  of 
the  hymn  in  MS.  in  the  British  Mu- 
seum signed,  F.  B.  P.  are  abbreviated 
to  nineteen,  including  the  two  which 
are  repetitions  of  the  refrain  or  burden 
of  the  song,  and  these  have  in  some 
cases  been  transposed  and  subjected 
to  changes  in  phraseology.  This  lit- 
tle quarto  is  one  of  the  rarest  books, 
in  the  entire  range  of  seventeenth 
century  English  literature.  At  most, 
three  copies  only  are  known  to  bibli- 
ographers, and  the  one  in  the  National 
Library  is  slightly  mutilated.  As  its 
title  indicates,  the  book  contains  a 
number  of  other  songs,  all  of  a  deeply 

33 


religious  character,  among  them  one 
headed, 'The  description  of  heavenly 
Jerusalem" — a  cento  of  fifty-two  four- 
line  verses,  forty-two  of  which  are, 
word  for  word,  those  of  a  hymn  en- 
titled, "An  English  hymn  of  the  Time 
of  Queen  Elizabeth"  which  is  evi- 
dently, says  Dr.  Prime,  a  translation 
of  the  hymn  of  Damiani  on  the  Glory 
of  Paradise. 

Mr.  Brooke's  notice  of  this 
poem  as  the  one  from  which  the 
hymn  "Jerusalem  thy  joys  divine"  is 
derived,  his  arithmetic  has  gone  as- 
tray. He  describes  it  as  being  com- 
posed of  twenty-seven  stanzas  of  eight 
lines,  headed  by  one  of  four  lines. 
The  book  itself  lies  open  before  us  and 
we  find  in  it  fifty-two  stanzas  of  four 
lines  as  we  have  above  stated,  no  more, 
no  less. 

34 


H* a*ml£  3Ceru0aIem 

insert  at  pages 
36-39,  the  fourteen 
verses  which  in  this 
C  song  portray  the  gor- 
geousness,  the  balmy  atmosphere, 
and  the  fruitfulness  of  the  Celestial 
Country,  in  order  to  bring  them  into 
juxtaposition  at  pages  4 1  et  sequentes, 
with  verses  of  a  similar  character  in 
the  hymn  'The  Heavenly  Jerusalem." 
The  remaining  thirty-eight  verses  will 
be  found  in  the  appendix,  page  55; 
wherein  Damiani's  verses  are  indi- 
cated by  an  asterisk. 

e  following  copies  of  these  old 
verses,  are  literal  transcripts 
of  the  originals,  save  in  one  particular. 
The  letter  U,  being  a  cursive  form  of 
the  letter  V,  was  used  interchangeably 
with  it  by  the  printers  of  the  seven- 
teenth century,  so  that  in  most  of 

35 


these  verses  the  V  appears  as  U,  and 
we  have  taken  the  liberty  of  substi- 
tuting the  consonant  V,  as  now  in  gen- 
eral use,  in  order  to  clarify,  as  we  think 
it  will,  the  reading  of  these  lines  to 
our  twentieth  century  eyes. 


,  tftg  fogeg  Dftune, 
jQo  fogeg  to  6e  compar'D  to  tfcem: 
people  filetteD  to  as  tftine, 
J3o  Cittg  like  3feru(alem» 

ttif  * 

Cfiete,  filuftering  tointet  netoet  filotoeg, 
H3or  @)ommet9s  parcbing  beatc  Dotb 

ftatme: 

3[t  netiet  (tee^etft  tjjete,  nor  fnotoes 
C6e  toeatftet  etjer  temperate  toarme* 


Cfte  trees  Doe  blottome,  &tiD  anD  beare, 
tfie  15irD0  Doe  etoer  cftirpe  anD  fing: 

36 


Cfte  friute  10  melloto  all  t&e  petite, 
tftej?  Imtie  an  etierlaffing  fpring, 

fe  * 

Cfte  pleatant  garDens,  etoer  keep 
Cfieit  fjearbes  anD  flotoew  ftell)  anD 

greene: 

ail  tort0  of  Datntp  plants  anD  friute0, 
at  all  times  tbere,  are  to  be  Ceene* 

£ 
Cfte  Hilli?  tuftite  anD  ttiDDp  Rote, 

Cbe  Crimfon  anD  Carnation  flotoers: 
Toe  brntreD  tftere  toiti)  ftonnp  Deities, 

fteaticnlg  Drops  of  golDen  Cottiers* 


Pomgranat  prince  of  fruite,  tfte  Peacfi, 
Cfte  Dainty  Date  anD  pleafant  JFigge: 

Cfte  aimonD,  Q9u(caDeIl,  anD  ©rape, 
OBrceeDing  gooD  anD  toonDrous  ftigge. 
ni 

C6e  JLemmon,  flDrenge,  Q^eDIer,  ditfnce 
Cfte  apricocbe  anD  gfnDian  §pfce: 

37 


lJeatimlp  3[eru0alem 

Cftc  Cbcrrp,  G3arDcn,  plum  anD  Peare, 
Sgore  fort0  ttmn  toere  in  paraDfce, 


ftuitc  mote  tootf)4omc, 
fafre, 

Cftcn  tbat  tobicft  gtcto  on  aDam'gttee: 
2SJitt)  tDftofe  Delight  afCailcD  toerc, 
2xat)erctoit  j)  fupprifD  toere  (Etie  anD  gee* 


Cbe  Imeiling  oDoti(etou0 
0@o0t  ftocctlp  t&ere  Dotb  (toeate  anD 

Drop: 

Cfte  fruitefiill  anD  tiictorioti0  Palme, 
out  ftet  loftj?  mounting  top* 


Cbe  Rper,  tome  rnoft  perfect  flotoe0, 
a^ote  p  leaf  am  t&en  t6c  ftonnp  combe: 

Upon  to&ofe  banker  tftc  @ugar  grotoe*, 
OEnclorD  in  EeeDeg  of  @>inamon. 

38 


JJ)cr  toalles  of  3[afper  ttones  be  built 
ridb  anD  fapce  tfnit  etier  toa0: 
ftreete0  anD  ftoufcs  pau'D  anD  gilt, 
toitt)  goID  more  cleare  tfecn  CfttiftaU 
ffiattc. 


!&er  gates  In  equall  Diff  ancc  be, 
3nD  cacb  a  gliltting  S©argante: 

commcr0  in  fatte  off  map  fee* 
glaDfome  anD  a  glorious  ftgbt, 


lj)cr  intoatD  Cftambcrs  anD  Dcligftt, 

15e  Dcckt  toitl)  peatle  anD  precious  Rone: 
C&e  Doote0  anD  polternes  all  be  tuijite 

2Df  torou0&t  anD  6urnifiS)t  3[»otp  6one» 

tit  * 

l£er  Sunne  Dotft  netier  Clipfe  nor  clouDe, 

Der  c@oone  Dotb  neber  tear  nor  toane; 
Cfte  Ham&e  toitf)  ligbt  fnitf)  fier  enDueD, 

2^ftofe  glorp  pen  cannot  erplaine. 

39 


le  full  title  of  The 
,Song  of  Mary  the 
Mother  of  Christ  is 
follows:  'The/ 
Song  of/  Mary  the  Mo/ther  of  Christ/ 
Containing  the  story  of/  his  life  and 
passion/ The  tears  of  Christ  in  the  gar- 
den :/  With/  The  description  of  heav- 
enly/ lerusalem/  London/  Printed  by 
E.  Allde  for  William  Ferbrand,/  dwell- 
ing neere  Guilde-hall  gate  at  the/  Signe 
of  the  Crowne/ 1 60 1 '  '/  Collation  A-F  in 
fours.  Title  as  above,  with  printer's 
device  in  centre,  a  i  (verso  blank).  The 
work  A  2— F4.  The  verso  of  C  4  blank. 
He  song,  "lerusalem  my  happy 
home,"  begins  on  the  thirty- 
eighth  page  and  ends  on  theforty-first. 
In  order  to  preserve  intact  the  beauty 
and  quaintness  of  the  original  hymn, 
we  do  not  alter  the  orthography  or 

40 


punctuation,  or  change  the  form  of 
the  nineteenth  letter  of  the  English 
alphabet,  all  of  which  add  to  the 
poem's  charm  in  the  eyes  of  an  anti- 
quary. The  second  and  fourth  lines 
of  each  verse,  almost  invariably  begin 
with  a  lower  case  letter,  which,  in 
our  opinion,  indicates  that  the  song 
was  written  in  the  fourteen-syllable 
verse  [5]  used  by  Sternhold  &  Hopkins 
and  Tate  &  Brady  in  their  versions  of 
the  Psalms,  and  by  Chapman  in  his 
translation  of  Homer's  Iliad ;  a  metre 
often  divided  in  this  manner  to  suit 
the  size  of  the  page. 

Cfie  l^eatienlp  3Ietufalem 
i 

IdErufalem  mp  Imppp  Some, 
tofien  tyall  3f  come  to  tfiee: 
Kaften  flwil  mg  forrotog  babe  an  enD, 
tf)j>  i  opes  tuljcn  fl)all  31 
41 


0  -:;  ii 

2D  fiappp  Cittp  of  tfce 

6  ftucet  anD  pleafant  fople! 
3[n  tfiee  no  forroto  map  60  founD, 

no  gricfe,  no  care,  no  tople* 

Hi 
Cftcrc  is  no  Dampe  not  foggp  mitt, 

no  clotoDe  nor  Darbfome  nigfjt: 
Cftere,  etoerp  @>atnt  fljtncs  If  be  t&e  ®  unnc, 

tftere  @oD  Inmfelfe  giDe.s  ligftt* 

iti 

3in  tftee  no  flcknefe  map  tie  (ounD, 

no  6urt,  no  acfie,  no  fore: 
31n  tftec  tOere  is  no  DreaD  of  Dcatft, 

C&ere's  life  for  etiermore* 

U 
Cfiere  is  no  raine,  no  fleete,  no  fnoto, 

no  filtft  map  tftere  ftc  founD : 
C&ere  is  no  forroU),  nor  no  care, 
all  fop  Dotf)  tbcte  afiounD, 
42 


Iya*nrt£  Jmuolem 

hi 
31erufalem  mg 


flmll  31  come  to  tfree: 
flmll  mg  torrotoes  fmtoe  an  enD, 
Cfeg  /opes  toften  fl)atl  31  fee. 

tiff 

toalle0  are  all  of  precious  ftone*, 
tt)j?  ftreeteg  patieD  toith  goIDe: 
Cftp  gates  are  eke  of  precious  pearle, 
mod  glorious  to  beftolDe, 

^m       •       tiiii    ,,,      ,\.    .    /. 
Cftp  Pinacles  anD  Carbuncles, 

toitft  DiamonDes  Doe  fl)ine: 
Cfty  Routes  cobereD  are  toiti)  goIDe, 
mott  perfect,  pure  anD  fine* 

fc 
Cftp  garDens  anD  tftp  pleafant  toalbes, 

continual!?  are  greene: 
Cfiere  grotoes  tfie  ftoeet  anD  f  aireft  f  lotoers, 
etier  erft  teas  feene* 

43 


C&ere,  Sinamon,  tfiere,  Citiet  ftoeet, 
tbcrc  TBalme  rprings  from  tbe  grounD 

JI3o  tongue  can  tell,  no  Deart  concetoe, 
tftc  fogc0  tf)at  tbere  abound* 


(3fetu(alem) 
Doe  6at&e  in  enDlcffe  b  litre: 
jQone  6ut  tfiofe  ftletteD  (oules,  can  tell 
ftotu  great  tbp  glorp  ts« 

fit 
Cftrousfiout  ffip  ftteetes  toftfi  flitter 

ftreames, 

t&e  flooD  of  life  Dotfi  flotoe; 
Upon  toftofe  faanbc0,  on  cucrj?  fiDe, 
t6e  toooD  of  life  Dot6  ffrotoe* 

mi 
Cfiofe  trees  Doe  etoermore  fieare  fruite, 

anD  etiermore  Doe  tpring: 
Cfiere,  etiermore  tfie  Saints  Doe  flt, 
anD  etoermore  Doe  fing, 

44 


erusalem 


Cftere  DatiiD  ftanDs  toitft  IMrpe  in  ftanD, 

a0  Rafter  of  tfte  £Xuite: 
Cen  tfcoufanD  tj?mc0  tf)at  man  mere  bleft, 

tgat  migbt  ft  Is  mufique  fteate. 

fl) 

2Dur  LaDg  flngg  Qgagniffcat, 
uiitft  tune  turpatttng  fUieet: 

all  tfte  CDirgins  beare  tftetr  patts, 
fitting  about  fter  feete« 


Ce  Deum  Dotft  Saint  amfarofe  fing, 

Saint  augufline  tfte  like: 
fiDIDe  Simeon  anD  gooD  focftatie, 

ftabe  not  tfteit  fongs  to  feeke* 
mi 

Cftere  QgagDalen  ftatft  loft  fter  moane, 
anD  fi)e  liketoife  Dotft  fing 

ftaypp  Saints,  toftofe  ftarmon? 
in  etierg  ftteete  Dotft  ring* 

45 


Cfiere  all  Doe  Iftie  in  fuel)  Dcltgbt, 
Utcj)  plcalurc  anD  fucft  phip: 

Clmt  tijouIanD  tftoufanD  pears  agoc, 
Dotf)  fceme  but 


3[etufalem  mp  6appp  fjome, 
fljall  31  come  to  tftec: 
l|)all  mp  Cottotoeg  ftatie  an  enD, 
tftg  foge*  tofien  B^all  31 


verses  are  mediaeval 
echoes,  resounding  through 
centuries  past  and  gone,  of  those  in- 
spired words  in  the  Apocalypse  of  St. 
John  the  Divine,  with  which  our  pages 
open.  Again  in  the  early  years  of  the 
seventeenth  century  —  as  though  in- 
tended as  a  postlude  —  the  same  mu- 
sical chord  is  struck,  and  the  same  ec- 
static strain  caught  up,  in  these  broken 

46 


lines,  as  they  were  humbly  called 
by  their  author,  Giles  Fletcher,  in 
his  poem  "  Christ's  victorie  and  tri- 
umph in  Heaven  and  Earth,  over 
and  after  death/' — verse  37.  Cam- 
bridge, 1 6 10.  [6] 

C6e  Cittie  celeftiall 

HTBout  tbc  ftolp  Cittie  rotolcs  a  flooD 
2Df  moulten  cftryttciU,  like  a  (ee  of 
glatte, 

tufjicf)  toeake  It  ream  a  ftrong 
tion  stooD, 

DiamounD0  tljc  btiilDi 
all  things  el0e,  bcfiDcs  itfclf,  DID 
pane 
It)cr  ftreete0  infteaD  of  It onc0  tftc  ftatre0 DID 

pabe 

an  D  little  pearle0  for  D  u  ft ,  it  feemeD  to  f)atoe 
tofnct)  foft'ftreaming  Q^anna,  like 
pure  fnotoe,  DID 

47 


:T  He  Song  by  F.  B.  P. 
although  not  ranked 
as  one  of  the  seven 
great  hymns  of  the 
Mediaeval  Church,  [7]  is  considered 
by  the  writer  we  have  quoted,  in  the 
"Dictionary  of  Hymnology,"  to  be 
one  of  the  most  important  hymns  in  its 
Anthology,  and  he  gives  to  its  text  and 
history,  the  exhaustive  treatment  that 
he  deems  it  to  deserve.  This  little 
quarto,  entitled  the  "Song  of  Mary 
the  Mother  of  Christ/'  which  ap- 
peared when  the  seventeenth  century 
was  but  a  twelve-month  old,  supplies 
us,  it  is  true,  with  only  a  corrupted 
and  incomplete  version,  of  this  Song 
of  the  joys  of  the  Church  Triumph- 
ant, as  it  was  anglicized  by  the  author 
from  St.  Augustine,  Bishop  of  Hippo, 
"his  booke/'— but  such  as  it  is,  this 
48 


little  volume  of  forty-seven  pages, 
enjoys  the  distinction  of  being  nearly 
if  not  quite  contemporaneous  with  the 
precious  manuscript  in  the  British  Mu- 
seum, and  the  second  known  printed 
book,  in  which  any  portion  of  this 
metrical  description  of  the  Heavenly 
Jerusalem  appeared — two  circum- 
stances, which  aside  from  its  extreme 
rarity,  place  it  in  the  front  rank,  in  any 
collection  of  early  English  literature. 
"^JITE  close  our  brief  and  imper- 
-^^  feet  sketch  of  this  Sacred 
Song,  the  sweet  and  fragrant  fruit  of 
the  poesy  and  the  piety  of  the  middle 
ages,  as  we  began  it,  with  an  extract 
from  Dr.  Prime's  loving  and  sympa- 
thetic study  of  its  origin  and  geneal- 
ogy, under  its  other  and,  perhaps 
more,  familiar  title,  "O !  mother  dear 
Jerusalem/' 

49 


noblest/'  he  writes,  "of 
our  Sacred  Songs,  in  its  ori- 
gin, its  genealogy  and  its  subject,  it 
will  undoubtedly  continue  to  be  dear 
to  the  lips  of  those  who  are  'returning 
from  the  sad  labour  of  this  pilgrim- 
age' so  long  as  the  pilgrimage  contin- 
ues, and  no  one  of  them  will  hear 
anything  to  surpass  it,  until  he  shall 
hear  Mary  and  David  and  Ambrose 
sing  the  new  song  in  the  New  City/' 

"3[Ha  autem  qiiae  siirsum  eft  Jerufalem, 

If  beta  eft,  quae  eft  mater  noftra," 

dEptftola  pauli  aD  ®alata0* 

Cap*  3[$«  26. 


in  ligijt  ana  lobe, 
31*  mother  of  us  all. 


jtlirty-  eight  verses 
f  The  Description 
of  Heavenly  Jerusa- 
lem from  the  Song 
of  Mary.  The  remaining  fourteen 
verses  are  given  at  page  36. 

if  * 

&  tbirftp  (oule  Deftres  bet  Draught, 
atbeatienlpfountaines  to  refreft): 
8©P  prpfoneD  minDe,  tooulD  fapne  be  out 
2Df  cbapnes  anD  fetters  of  tbe  flefl), 
iff  * 

loofeetb  up  unto  tbe  ftate, 
Jfrom  tobence,  fl)e  Dotone  b?  finne  DiD 
UiDe: 

mourneg  tbe  more  tbe  gooD  fl)e  loft, 
JFor  prefcnt  ebill  fl)e  Dotb  abiDe, 

iti  * 

longs,  from  rougb  anD  Daungcrou.s 


Co  barbout  in  tbe  bauen  of  blitte: 

55 


iK3bere  fafelp  ancbor  at  ber  eafe, 
3nD  fljore  of  ftoeet  contentment  10* 

ti  * 

jFrom  banifyment  fye  more  anD  more, 

Deffres  to  fee  f)er  countrg  Deare: 
@>l)e  flts  anD  tenD*  bet  %t)e0  before, 

li)er  iope0  anD  treafure0  all  &e  tbere, 
M^i^  tJi  * 

jfrom  TBafrilon  fl)e  tooulD  returne, 

Onto  f)er  gome  anD  totonc  of  peace 
gjerutalem,  tofiere  fops  afiounD, 

Continue  ftill  anD  netier  ceafe* 


glorious  Sainw  bet  Dtoellerg  be, 
3fn  numbers  more  tftan  men  can  tbinfee: 

man?  in  a  company 
as  lobe  in  iikenes  Dotb  tbem  linkt. 
mi  * 

Cbe  ftarres  in  brigbtnes  tbep  furpaffe, 
3fn  ftoiftnes  arrotoes  from  a  botoe: 
56 


S\n  ftrengtfc,  in  f  irmnes,  fteele  ot  braffe 
31n  brigfnnes  fire,  in  toftitenes  fnouie, 


Cfteir  cloatfting  are  more  toft  tften  Hike, 
With  gitDlc0  gilt  ot  beaten  golDe: 

Cftcj?  in  t&eir  6anD0  as  tofiite  as  milbe, 
SDf  Palme  triumphant  branches 


Cftepr  faces  fining  like  tfte  Sunne, 
Sfcoote  fortt)  tbeir  glorious  glaDfome 
beames: 

Cfte  fielD  is  fougftt,  tfie  battle  toonnc, 
Cfteir  fteaos  becrotoneD  toitft  DfaDemes* 


RcUnirD  as  ucrtue  Different  is, 
Deft  i  net  tbcic  /opes  anD  fiappines: 

T5ut  eacft  in  /op  of  otftcrs  bliffe, 
Dotb  as  ftis  otone  tfte  (ame  potCette. 


eacft  in  glorp  Doe  abounD, 
3nD  all  tbeir  glories  Doe  escell: 

57 


T6ut  tofcereas  all  to  eadb  reDounD, 
can  t&'  esceeDfng  glorp  tell? 


Criumpfiant  toarriers,  pou  map  i)eare 

Recount  tbcic  Daungcrs  tobicl)  Doe  ceafe: 
3nD  noble  Citti?en0  etierg  tofiere, 
Cbeir  ftappp  gainer  of  /op  anD  peace* 

HUH 

Cfte  leatneD  clerbc0  toitft  l^atpeneD  lint, 
Cftcpr  makers  toontJtou0  toorkes  Do  tell: 
Cfte  3|uDge0  grtiuc  on  bencftes  fit, 
Co  fiiDge  tfte  Cri&es  of  3fftaelL 

miiii 
Cfie  glorioug  Courtiers  etier  tftere, 

attenD  on  perfon  of  tfieir  fting, 
MJft!)  angels  /opneD  in  a  -Ctitire, 
^eloDious  pratCe  of  ftpmmes  to  fing* 

mt 

IXueene  Virgin,  mot&er  3(nnocent, 
Cfien  Saints  anD  angels  more  Ditoine: 
58 


Hike  Sun  amfD0t  t&e  firmament, 
t&e  planets  all  Doe  tyine. 


€&e  King  tfiat  fceatoenlp  pallace  rules, 
Dotb  beate  upon  f)i0  golDen  fl)icID, 

a  Crone  in  figne  of  trpumpb  ffiilc0, 
OBrecteD  in  a  berDant  fieID« 


^)i0  glorg  fiicf)  as  Dotft  fieftotie, 

in  6i0  manftooD  for  to  tabe: 

oD^eaD  eartt)  anD  beaben  abobe, 
all  tfnit  Dtoell  therein  DID  make, 


Hike  fricnDs  all  partners  are  in  ftliffc, 
fffllitt)  Cftrift  tfeeir  HorD  anD  Rafter 
Deare: 

Like  fpoufe*  tfieg  tfte  lBriDe*ffroome  kiffe, 
tofto  feaftetft  tfiem  toitfi  fieatoenlp  cfteare. 


tree  of  life  anD  Qganna  ftoeet, 
taftc,  Dotf)  fttcft  a  pleafure  bring, 

59 


30  none  to  j  uDge  tftcrcof  be  meete, 
TBut  tbep  tobicb  banquet  toitb  tbe  »ing* 


SBitb  cberubin0  tfieft  tarings  tftep  mootie, 
3nD  mount  in  contemplation  ftge; 

e^itf)  @>erapt)in0  tljcp  burne  in  llotic, 
tt)e  beamed  of  glorj?  be  00  npgb* 


SD  Ctaeet  atpett,  Difion  of  peace, 
bappp  regarD  anD  beauenlp  ttgbt! 

a)  enDleffe  fop  toitbout  furceate, 
perpetuall  Dap  tobicb  batb  no  nigbt! 


2D  tuell  of  toeale,  fotintaine  of  life  ! 

a  fpring  of  etierlafting  bliffe: 
(Eternal  Sunne,  tefplenDent  ligbt, 

anD  eminent  caufe  of  all  tbat  i0. 


of  pleafure,  Sea  of  Deligbt, 
gatDen  of  glorp  etoer  gteene: 
60 


2D  glorious  glaffc,  anD  mirroiir  fcrigfit, 
therein  all  trutf)  i$  clearlp  Ceene ! 
mtnii  * 

SD  princelp  pallace,  ropall  Court, 

8@onarcfmll  (eate,  OBmperiall  tfirone! 
&3f)ere  ming  of  lyings,  anD  ^oucraig 

JLotD, 
for  euer  rulctf)  all  alone* 

mfe  * 

22Jftere  all  t&e  glorious  faints  Doe  fee 

tfie  fecrew  of  tfie  Dettp: 
C6e  aoD*f)eaD  one,  in  perfon»  tfiree, 
tfte  fuperfiletteD  Crinftp* 

vox  * 

Cfte  Deptfi  of  toffeDome  moft  profounD, 

all  puifant  ftigb  fublimitp: 
Cbe  brcDtb  of  lobe  toitOout  all  fionD, 
in  enDlette  long  eternitp* 

&&xi  * 

beat)?  eartf)  belotoe  6p  feinDc, 
alone  afcenDs  tfie  mounting  fire: 

61 


15e  tftte  tftc  center  of  mg  minDc, 
anD  ioftj?  fpfteare  of  fter  Dcttcc. 


Cftc  cimfeD  Deare  Dotfc  take  tbe  topic, 
tbe  tpreD  I^arc,  tfte  tf)ickc0  anD  toooD: 

IBe  tftis  tfie  comfort  of  mg  togle, 
mg  refuse,  ftopc,  anD  SoDcraigne  gooD« 


Cf)c  C^crcbant  cuts  tf)e  @>eag  for  gainc, 
tbe  @oIDier  fertiet!)  for  r  en  o  tone 

Cftetpll*manplotoe»  tfiegrounDfor  gratne, 
tie  tt)t0  nig  iog  anD  lading  crotone* 


Cbe  jfaiilbnct  feekes  to  fee  a  flight* 
tbc  !p  an  tec  beate0  to  tote  to  tbe  game: 

ILong  tfcou  mg  foul  to  fee  tins  figfit, 
anD  labour  to  eniog  tbc  tame* 


I2o  one,  toitbout  tome  one  Deligbt, 
fjc  enDeabors  to  attaine: 
62 


tbou  mp  foulc  botfi  Dap  anD  nigbt, 
tbte  one,  tobicb  etier  fljall  remafne* 


Cbis  one  containe0  all  pleature  true, 
all  otbcr  pleafure0  be  but  baine: 

tfiou  tbe  reft  mp  foule  aDue, 
anD  fccbe  tfti0  one  alone  to  game* 


count  tbc  grade  upon  tbe  grounD, 
or  SanDs  tbat  Ipe  upon  tbc  fl)occ: 

tubcn  pee  Ijauc  tbc  number  founD, 
tbc  /opes  bcrcof  be  manp  more. 


a3orc  tftoufanD  tboufanD  peare0  tbep  hilt, 

loDgc  tuitbin  tbc  bappp  mpnDe: 
toftcn  (o  many  peare0  be  paft, 
more  anD  more  be  flill  bcbinDc. 


jTarre  more  tbep  be  tben  toe  can  toeene, 
Cbep  Doe  our  juDgcmcnt  mucb  crcell: 
63 


eate  6at&  ImiiD,  or  ej?e  ftatf)  Cccne, 
pen  can  toritc,  no  tongue  can  tell* 

I  * 

an  angels  tongue  cannot  recpte, 
Cbc  enDlefte  JOP  of  beafccnlp  blittc: 
being  tofcolg  infinite, 
all  fpeacl)  anD  totiting  to* 
li  * 

can  imagine  but  a  tyaDe, 
3ft  nebet  entreD  into  tftougftt: 
ffiaijat  /opes  6e  fiatf)  enfopeD,  tfiat  maDe 
ail  jopcs,  anD  tftem  tbat  fop  of  nought, 

lii  * 

s@g  foule  cannot  tfip  fopes  contapne, 

JLet  bet  HorD  enter  into  t&em: 
Jfor  etier  toitS  t&ee,  to  remapne 
JKHitfiin  tfip  totone  3ferufalem. 

Jfinis 

N.  B.  The  verses  not  taken  from  Damiani's  hymn 
are  the  ist,  loth,  i  ith,  I2th,  I3th,  I4th,  i8th,  27th,  28th, 
and  29th. 


spinster*  ana  tty  Knitter* 
in  rtje  ann 
2E>iti  u0r  to  c&ant  it; 


Aken    from    Julian's    "Dictionary    of 
Hymnology,"  and  other  authorities. 

[  i  ]  "  The  total  number  of  Christian  hymns  in 
the  200  or  more  languages  and  dialects  in  which 
they  have  been  written  or  translated  is  not  less 
than  400,000.  When  classified  into  languages 
the  greatest  number  are  found  to  be  in  German, 
English,  Latin  and  Greek  in  the  order  named." 

[  2  ]  The  "Meditations  of  St.  Augustine,"  be- 
ing his  treatise  of  the  love  of  God,  Soliloquies 
and  manual  "  a  pretious  booke  of  heavenlie  med- 
itations" is  placed  by  the  authorities  of  the 
British  Museum  among  his  supposititious  works. 

In  many  editions  of  the  "  Liber  Meditationum 
of  St.  Augustine,"  Cardinal  Damiani's  Hymn  on 
Paradise,  "Ad  perennis  vitae  fontem/ ' is  given  as 
part  of  the  Manual  and  has  been  frequently 
ascribed  to  St.  Augustine.  These  "Meditationes," 
however,  says  Archbishop  Trench,  are  plainly  a 
cento  from  Anselm,  Gregory  the  Great  and  many 
others  besides  Augustine.  The  hymn  is  Dami- 
ani's and  quite  the  noblest  he  has  left  us. 

[  3  ]  Peter  Damiani,  called  the  austere  reformer 
of  the  eleventh  century,  was  born  at  Ravenna 
about  988.  He  was  made  Cardinal  Bishop  of 
Ostia  by  Pope  Stephen  IX  in  the  year  1057. 
Died  at  Faenza,  Italy,  in  1072. 

69 


Xlotw 


[  4  ]  "  Psalms  &  Hymns  for  Public  or  Private 
Devotions/'  Sheffield,  1802.  Known  as  the 
Eckington  Church  Choir  Text.  Only  one  copy 
of  this  book — we  are  informed — was  known  to 
the  writer  of  the  article  on  Jerusalem  my  happy 
home,  in  the  "Dictionary  of  Hymnology;" — the 
one  in  the  Library  of  the  Church  House,  West- 
minster. 

THE  OLD  FASHIONED   FOURTEEN-SYLLABLE 
VERSE 

[  5  ]  The  following  specimens  of  this  metre 
which  show  the  wide  extent  the  measure  covers, 
are  kindly  furnished  the  writer  by  his  friend, 
Mr.  Beverly  Chew,  a  student  and  collector 
of  early  English  literature,  to  whom  his  brother 
bibliophiles  instinctively  turn  when  they  have 
a  knotty  point  connected  with  his  favorite 
subject  to  unravel. 

I  tell  of  things  done  long  agoe,  of  many 

things  in  few; 

And  chiefly  of  this  Clyme  of  ours  its  Ac- 
cidents purfue. 

A.  Warner's  "Albion's  England/' 
3rd  ed.  1592. 

Achilles  banefule  wrath  refound,O  God- 
delTe  that  impof  d 

70 


Infinite  forrowes  on  the  Greekes,  and 
many  brave  foules  lofd. 

Chapman's  "Iliad,"  1611. 

The  man  is  bleft  that  hath  not  bent 

to  wicked  read  his  eare; 
Nor  lead  his  life  as  fmners  doe, 
nor  sat  in  fcorners  chaire. 

The  Whole  Book  of  Psalms. 
Sternhold  and  Hopkins,  1635. 

Happy  the  Man  whom  ill  Advice 
From  Virtue  ne'er  withdrew; 
Who  ne'er  with  Sinners  ftood  nor  fat 
Amongft  the  fcoffing  Crew. 

A  new  version  of  the  Psalms, 
Tate  and  Brady,  1696. 

[  6  ]  Six  of  the  nineteen  cantos  which  compose 
this  poem  by  Giles  Fletcher,  are  pronounced  by 
Dr.  Neale  the  most  beautiful  original  verses  in 
a  strictly  religious  poem  which  the  English  lan- 
guage possesses. 

[  7  ]  The  seven  great  hymns  of  the  Mediaeval 

Church  are 

% 

i    The  Celestial  Country 

Bernard  of  Cluny 

71 


2  TheDiesIrae 

Thomas  de  Celano 

3  The  Stabat  Mater 

lacobus  de  Benedictus 

4  Veni  Sancte  Spiritus 

Robert  1 1,  son  of  Hugh  Capet 

5  Veni  Creator  Spiritus 

Charlemagne 

6  Vexilla  Regis 

Venantius  Fortunatis 

7  The  Alleluiatic  Sequence 

Godescalcus 

Bernard's  Celestial  Country  is  called  by  Dr. 
Neale,  the  most  lovely,  in  the  same  way  that  the 
Dies  Irce  is  the  most  sublime  and  the  Stabat 
Mater  the  most  pathetic  of  mediaeval  poems. 


Postscript 

IT  is  the  unexpected  that  happens  in  book- 
hunting  quite  as  frequently  as  it  does  in 
other  mundane  pursuits.    The  printer's  ink  on 
the  first  signatures  of  this  book  was  hardly  dry, 
before  Dr.  Bonar's  scarce  little  brochure.    "The 

72 


New  Jerusalem,    A  'hymn  of  the  Olden  Time/' 
fell  into  our  hands. 

As  we  have  given  on  page  22  Dr.  Neale's 
scathing  criticism  of  the  Covenanter,  David 
Dickson,  and  his  poetical  works,  even-handed 
justice  requires  that  we  should  also  reprint  a 
few  of  the  eulogistic  words  penned  by  one  of 
his  warm  admirers.  Therefore  we  quote  this 
closing  paragraph  in  Dr.  Bonar's  preface  to 
his  "elegant  book" — as  Dr.  Neale  styles  it — 
a  copy  of  which  we  have  so  unexpectedly 
secured. 

"Even  though  I  could  regard  it  in  no 
higher  light,  than  wiping  off  the  duft 
from  the  picture  of  fome  venerated 
kinfman,  or  clearing  away  the  mofs 
from  the  infcription  on  some  martyr's 
moorland  grave,  I  ftill  feel  not  a  little 
fatiffied  in  having  been  able  to  give 
completer  fhape  to  the  breathings  of 
a  faint  now  gone  up  to  the  Jerufalem 
which  he  longed  to  fee." 
Kelso,  Feb.  1852. 

Dr.  Bonar  shared  in  the  prevalent  belief  of 
his  time  that  the  hymn,  "O,  mother  dear  Jeru- 
salem," was  David  Dickson's  own,  until  he 

73 


learned  of  the  manuscript  volume  in  the  British 
Museum.  This,  he  tells  us,  he  had  an  oppor- 
tunity of  inspecting  minutely,  and  from  his 
full  and  interesting  statement  of  what  he  found 
therein,  and  his  deductions  therefrom,  we  take 
the  following  paragraphs. 

"It  is  a  thin  quarto,  fmall  fize  purchafed 
fome  years  ago  at  Mr.  B right's  fale  and  is  No. 
15,225.  It  has  been  bound  fomewhat  recently 
and  is  marked  on  the  back,  "Queen  Elizabeth/' 
This  date,  however,  is  incorrect,  as  the  follow- 
ing ftatement  will  fhow: — There  are  references 
to  King  James,  which  prove  that  it  belongs 
to  his  reign.  There  are  two  fongs  in  reference 
to  the  death  of  a  Mr.  Thewlis.  The  firft  is  at 
page  45;  the  heading  runs  thus:  'Here  fol- 
loweth  the  fong  Mr.  Thewlis  writ  himself,  to 

the  tune  of /  The  second  is  at  page  49,  and 

is  thus  headed:  'Here  followeth  the  fong  of  the 
death  of  Mr.  Thewlis,  to  the  tune  of  Daintie, 
come  thou  to  me/  We  cannot  extract  the 
whole;  but  it  begins  thus: — 

O  God  above,  relent, 

And  listen  to  our  cry; 
O  Christ,  our  woes  avert, 

Let  not  thy  children  die. 

74 


It  ends  thus: — 

O  happie  martyred  saints, 

To  you  I  call  and  cry, 
To  heale  us  in  our  wants, 
O  beg  for  us  mercie. 

"It  is  evident  that  Thewlis  was  a  Romanift; 
and  in  the  lift  of  the  twenty-four  'fecular 
clergymen'  who  fuffered  death  for  treafon 
during  the  reign  of  James,  one  'John  Thulis' 
is  given  as  having  been  executed  at  Lancaster* 
on  the  1 8th  of  March  1616  [See  Dodd's  Church 
History  of  England,  Vol.  IV,  p.  179].  And  though 
there  is  a  flight  difference  in  the  fpelling  of  the 
name  from  what  we  find  in  the  manufcript, 
yet  we  can  hardly  doubt  that  the  Mr.  Thewlis 
of  the  manufcript  is  the  John  Thulis  of  the 
hiftorian.  If  fo,  then  this  interefting  volume 
muft  be  afligned  to  the  reign  of  James  the 
Firft.  At  the  same  time,  it  muft  be  remem- 
bered that  this  does  not  fix  the  date  of  the 
hymns,  or  ballads,  or  fongs  contained  in  it, 
to  that  reign.  Some  of  them  are  much  older, 
going  back  even  to  an  earlier  period  than  Queen 
Elizabeth's  reign.  Several  of  the  pieces  in  it 
do  indeed  refer  to  events  of  her  time.  There  is, 

*Dr.  Neale  and  the  writer  in  the  Dictionary  of  Hym- 
nology  both  state  that  this  tragic  scene  was  enacted 
at  Manchester. 

75 


for  inftance,  at  page  61,  'A  song  of  four 
prieftes  that  fuffered  death  at  Lancafter, 
to  the  tune  of  Daintie,  come  thou  to  me/  Now, 
as  only  three  Romanifts  in  all  were  executed 
at  Lancafter  during  the  reign  of  James,  and  as 
thefe  were  not  executed  at  once,  but  one 
(Lawrence  Bailey)  in  1604,  and  the  other  two 
(John  Thulis  and  Roger  Wrenno)  in  1616;  and 
as  neither  Bailey  nor  Wrenno  were  priefts, 
but  fimple  laymen;  and  as,  moreover,  we  know 
that  on  two  occafions  four  priefts  were  exe- 
cuted together  in  the  reign  of  Elizabeth,  we  are 
inclined  to  date  this  fong  fome  time  towards 
the  clofe  of  the  previous  century,  as  it  feems  to 
be  written  not  long  after  the  event  it  refers 
to/' 

Dr.  Bonar  gives  the  titles  of  several  other 
songs  which  this  manuscript  in  the  British  Mu- 
seum contains,  and  arrives  at  the  conclusion 
that  it  is  a  collection  of  already  existing  poems 
from  various  sources.  The  collector  or  tran- 
scriber, he  believes,  "muft  have  lived  in  the 
reign  of  James,  but  moft  of  the  pieces  collected 
are  of  an  earlier  date.  Several  of  thefe  anony- 
mous fcrap-books  of  thefeventeenth  century  have 
come  to  light,  and  in  them  are  contained  pieces 
which  are  to  be  found  nowhere  elfe.  Unfortun- 
ately, they  feldom  give  the  names  of  the  writers; 


and  fuch  is  the  cafe  with  the  MS.  we  are  refer- 
ring to.  There  is  one  piece,  at  page  3 1 ,  figned 
Thomas  Hill;  but  this  is  the  only  author's  name 
given  throughout." 

Of  the  hymn  "The  New  Jerusalem,"  Dr.  Bonar 
thus  writes: — "  It  is  a  hymn  of  mingled  fadnefs 
and  triumph:  more,  however,  of  the  latter  than 
the  former.  It  contains,  no  doubt,  much  of 
'the  fait  of  broken  tears/  but  it  contains  more 
of  'the  joy  unfpeakable  and  full  of  glory/  It 
is  the  fong  of  a  prifoner,  yet  of  one  who,  through 
his  prifon-bars,  fees  afar  off  the  bright  flopes 
of  his  native  hills.  It  is  a  folemn  chaunt,  nay, 
at  times  almost  melancholy,  were  it  not  for  the 
burfts  of  joy  pervading  it,  like  fragrance  fcat- 
tered  o'er  the  lone  moorland,  or  like  funfhine 
ftreaming  in  through  the  fhaken  foliage  on  fome 
martyr's  fo  reft -grave." 

We  would  be  glad  to  continue  quoting  from 
Dr.  Bonar's  learned  treatise,  but  we  must 
draw  the  line  somewhere  and  the  foregoing  will 
suffice  for  our  present  purpose. 


No  compiler  of  Mediaeval  Hymns  can  omit 
to  notice  this  song  by  F.  B.  P.,  and  we  were 
certain  to  find  it  included  in  Dr.  Neale's 
"Hymns  chiefly  mediaeval  on  the  Joys  and 

77 


Glories  of  Paradise."  The  dedication  of  this 
little  volume  is  so  beautiful  in  sentiment  and  so 
chaste  in  expression,  that  we  cannot  refrain  from 
quoting  it  before  our  final  "explicit." 

TO  THE 

EX-SUPERIOR 
OF 

s.  MARGARET'S  HOME 

THESE  HYMNS 
BEARING  REFERENCE  TO  THAT  HOME 

OF  WHICH 
EVERY  RELIGIOUS  HOUSE 

IS  THE  FAINT  TYPE 
ARE  AFFECTIONATELY  DEDICATED 


